American Printmakers On-line Catalogue Raisonné Project
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catalogue raisonné,
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Thumbnails, Part 4:
Prints made for Illustrated Books
(These prints are not included in the catalogue raisonné proper.)
A Biographical Chronology
of the artist (and its accompanying linked pages) appears on the website
The Art and World of
Luis Quintanilla

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Copyright ©
by Jeffrey Coven
The Prints of Luis Quintanilla:
A Catalogue Raisonné
(in progress)
Full Entry Catalogue
Catalogue Entry #: 5*
Title: Calle de Madrid [2] (Madrid Street)**
Series: Madrid Prints

Click the image for enlargement.

Date: C. 1934***

Medium: Drypoint and Etching****

Edition: At least 5 numbered impressions plus 1 unnumbered impression*****

Dimensions: 360 x 275 mm. (14 3/16 x 10 7/8 in.)

Printer: Adolfo Ruperez

Paper: Wove with Arches watermark

Signature: Typically signed in pencil, l.r., beneath the plate mark

Public collections holding this print: BMA; BNE; MNCARS

Topic galleries for this print:
1. Couples
2. Street Scenes
3. Scenes Featuring Animals


*Catalogue Entry #: For numbering used in other catalogues, see below.


  • The Spanish title, Calle de Madrid, appears in the artist's hand in pencil on at least one impression beneath the plate mark, l.l. (See Fig. 1 below.)
    • The only known impressions bearing titles in the artist's hand for Madrid Series prints are in the Hemingway Collection and carry their titles l.l. where the numbering normally appears.
    • The "[2]" following the title does not appear on any impression, but is this catalogue's method of distinguishing among five works all bearing the title "Calle de Madrid."
  • The Pierre Matisse Gallery Catalogue (1934) also uses the title "Calle de Madrid."
  • The English version of the title, "Madrid Street", is our translation and does not appear on any observed impression.

Fig. 1

***Date: No date appears on any of the observed impressions of this print. The BNE states, "1934." Of the dates that appear on works in the Hemingway Collection, which includes this print, none is earlier than 1931 and none later than 1934. Quintanilla started making drypoints, in fact prints in general, with Adolfo Ruperez, the printer of all the prints in the Madrid Series, sometime after the artist's return to Madrid in 1929. (See Biographical Chronology.)

The one known exception to the range of dates specified in the paragraph just above is entry # I.

****Medium: Although Burdett claims that Quintanilla did not mix his printmaking media and used solely drypoint, the BNE catalogue describes this print as "punta seca y aguafuerte" (drypoint and etching) as does the BMA . Examination of other prints from the Madrid Series also reveals the use of etching along with drypoint. Until further examination is made, the catalogue raisonné concurs with the BNE designation of "drypoint and etching."

For further discussion of the factors involved, visit the "Medium" section of "Using This Catalogue Raisonné."


  • The Baltimore Museum of Art impression is numbered, l.l., in the artist's hand, "n° 5."
  • Ruperez typically printed ten or fewer (most commonly 7-10) of Quintanilla's Madrid Series prints, often including at least one or more unnumbered impressions. (No record exists of more than two unnumbered impressions of any of the Madrid prints.)
    • The Hemingway Collection typically includes one unnumbered impression bearing a title instead of the number, l.l. (See Fig. 1 above.)
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This page last revised: Sunday, December 17, 2006